“THE PRINCESS,” TENNYSON's narrative poem about a radically feminist princess and a cross-dressing prince, framed by an imagined argument between Victorian men and women concerning the role of women in modern society, has, understandably, formed the central text in a number of articles about nineteenth-century gender poetics. Critics have been eager to engage with the fictional authors of the narrative, casting Tennyson as, on the one hand, a bastion of Victorian patriarchy, and on the other a subversive feminist. Donald E. Hall, in an essay, published in his collection Fixing Patriarchy, is the most persuasive advocate for a masculinist Tennyson, presenting “The Princess” as undertaking a project of “subsumption,” in which the words and demands of the women are “ingested, modified and incorporated by the patriarch” (46). In an article entitled: “Marginalized Musical Interludes: Tennyson's Critiques of Conventionality in ‘The Princess,’“ Alisa Clapp-Itnyre provides a representative case for the defence, presenting the lyrics as “pivotal feminist commentaries” that work to interrupt and deconstruct the male narrative (229). Herbert Tucker locates a third way, identifying the poem as a “textbook Victorian compromise” (Tennyson 352). He argues that it “avoids taking a position on a hotly debated issue by taking up any number of positions” and characterizes this compromise, not as a commitment to portraying a complex contemporary issue with integrity, but as the result of Tennyson's not caring particularly either way: “neither the rallying of Victorian feminism” he writes, “nor the patriarchal status quo was sufficient stimulus to commitment” (352). In order to open up a new line of enquiry into “The Princess” I would like to look beyond the gender questions that continue to be batted back and forth amongst Tennyson's critics and to offer the figure of the child as an alternative and more powerful cultural, aesthetic and professional stimulus to Tennyson's poem.